Ever since i got my Grid+Ansible I’ve been using the two as my only sequencer within my modular. Whenever I set out to jam out or compose I approach it like this: first off I have to choose my main voices, what effects I want to use in the composition process (I feel delays and reverbs can dictate a lot of choises and I enjoy using them as a integrated part of my workflow) and then things like tempo, sometimes time signatures and always scales. Since I’m mostly using Kria I often create some scales and variations of them so I can play around with that. I then start off voice by voice just improvising stuff and creating things I like that can spark off new ideas. When I have something I can dig I’ll often start to record stuff, improvising with the sequences, octaves, triggers and parameters within the sequences - but maybe more importantly interact with the modular, modulating by hand, filters, envelopes, attenuation etc. Very often I record a couple of takes within the same patch. Lately I’ve been doing some multi-lateyering stuff. Though I can record up to six voices in one take I often do another layer with more percussive stuff, and sometimes additional/lead stuff + samples.
I barely use the probability function with Kria, though I think it is a very cool feature. I guess I like to add that probability factor by hand, if that make any sense. Kind of like being in control of the randomness.
I think Kaitlyn Aurelia Smith puts it really well in her FactMag interview where she discusses how she approach the modular much like a full orchestra, where you have to think of the function of each voice in a way, even just in terms of frequencies. IIRC she’s also talking about a kind of subtractive compositional process which I think make a lot of sense.
